Pink Floyd plays a full concert from their 1980 The Wall tour, compiled from shows on Aug. 8, and Aug. 9, 1980, at Earl's Court in London, England.
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Reviews
CinemaSerf
7
By CinemaSerf
Using Pink Floyd’s iconic album as a soundtrack not only brings this vibrant feature alive, but it also allows Alan Parker to treat each track as if it were a template to experiment with some quite radically differing styles of storytelling. There is a running theme, that being the tale of “Pink Floyd” (Bob Geldof) who lost his dad during the war, saw his wife abandon him and who ever since he can remember has been sheltering behind a wall - physical and psychological - trying to recover from an overbearing education that did nothing but stifle this young man’s innate sense of creativity. As he hits the heights of musical stardom, his turmoil only increases and the wall starts to exert menacing and containing influences that he might never be able to break down. The ensuing scenarios illustrate and compare forcefully the vulnerability of the young with the temperamentally unsound of the adult, the sexually active and the equally frustrated and by using stylised photography we are taken on quite a rollercoaster ride. If you remember the title sequence from “Yes, Minister” then you’ll recall the pointed and exaggerated style of artistry from Gerald Scarfe who provides my favourite sequence towards the end of this, but also designed a few of the other poignant episodes in the life of a man whom, with the possible exception of Roger Daltrey, I can’t imagine being better portrayed than by a Geldof who puts his heart and soul into something that convinces pretty much entirely. It’s surreal and entertaining and even if the band are not your favourite, this is a film that showcases innovation more strikingly and imaginatively than most music videos that ever followed.
